Beyond The Wall

The text is very descriptive and loaded with symbols. The author takes the opportunity to relate elements of setting with symbols with meanings beyond the first reading’s impressions. The house that the characters rent for the summer as well as the surrounding scenery are introduced right from the beginning. It is an isolated house, situated "quite three miles from the village"(947); this location suggests an isolated environment. Because of its "colonial mansion"(946) look, and its age and state of degradation, of the house, a supernatural hypothesis is implied: the place is haunted by ghosts. This description also suggests stability, strength, power and control. It symbolizes the patriarchal oriented society of the author’s time. The image of a haunted house is curiously superimposed with light color elements of setting: a "delicious garden"(947), "velvet meadows"(950), "old-fashioned flowers, and bushes and gnarly trees"(948) suggest bright green. The room has "air and sunshine galore"(947), the garden is "large and shady"(947) and has "deep-shaded arbors"(948). The unclean yellow of the wallpaper is

“Loneliness is a common emotion when someone feels alone, separated from others or unsupported and distressed” (Kennedy). A common occurrence of many great authors is to make a theme regarding loneliness or isolation for example, “The Fall of the House of Usher” and “The Yellow Wallpaper”. “The Fall of the House of Usher”, comparatively speaking, is a very challenging read for most, whereas “The Yellow Wallpaper” is more of a relaxed read. There are many differences between “The Fall of the House of Usher” and “The Yellow Wallpaper”, however, there is a common occurrence that links the two, loneliness. Throughout the two short fiction pieces both characters, Roderick Usher from “The Fall of the House of Usher and Jane from “The Yellow Wallpaper”, are isolated from the outside world, both characters have an illness that keeps them in isolation, and both characters in some way turn to a form of literature to pass time . All of these aspects contribute significantly to loneliness.

This quote from Brook sums up the production of Boy Girl Wall by the Escapists as actor, Lucas Stibbard took an empty space such as the black boxed room and called it a bare stage. It used a conventional, ordinary room with pipes, a fuse box and doors, all been painted black to create a distinct world that we as an audience became submerged in. As the production progresses Stibbard is constantly setting the stage as he goes, such as drawing a pillow or an alarm on the wall with his one piece of chalk. This suggests that anyone could perform this piece or a piece similar to it as it uses everyday items to portray a narrative in a normal and simplistic setting. This gives insights of the battles young amateur actors and play writers face with

First, “walls” of both kinds are seen in the poetry and fiction of Edgar Allan Poe. In, The Cask of Amontillado, a physical wall is being built around a chained, Fortunato, forever forcing him to remain among the catacomb. Montresor has built this wall around his “friend” to seek revenge and be free of Fortunato. While physically free, he will become trapped by a symbolic wall of guilt as he is laying the last of the stone. The Raven, also by Poe, shows of a “wall” between the narrator and the refrained term,nevermore. The narrator does not wish to see the association with his wife, Lenore and death. The angels know her name, therefore she must have recently passed and he is unable to get over the emotional wall of never seeing his loved one again.

Men and women are faced with inevitable walls as they go through their daily lives, the strength of their character is derived by how they tackle these walls. Herman Melville gives us a glimpse at how walls can eventually destroy us if we give into them. In his short story, Bartleby the Scrivener, the narrator tells the story of a clerk he once employed, Bartleby. At first, Bartleby seemed to be the perfect employee, but he eventually began to shirk his work and depart into himself. Through the narrative, the narrator gives his account of how he dealt with Bartleby and gives the reader a look at the walls Bartleby dealt with in part of his life. The walls Bartleby continuously encounters throughout the text are a symbol of his isolation

In the short story, the writer tells a woman’s depression which guides her to break the limits and restrictions over woman. The woman who has no name or identity symbolises all women’s suppressed position in patriarchal society. In the story, the woman describes the house and her rooms with the words; ancestral hall, old-fashioned chintz, barred windows, heavy-immovable bed. The descriptions depict the house as patriarchy’s realm. Also, the yellow wallpaper’s surrounding of her shows the woman in a trapped, confined and repressed position. Not only the yellow symbolise the weakness, but the paper also

Isolation is one of the central themes of “Bartleby, the Scrivener,” and is highlighted by the motif of the wall. The office, in which the story is placed, is located in a chamber suite named, “No. ⎯ Wall-street” (5). Society and the narrator isolate Bartleby by enclosing him behind walls. The narrator does this by the putting up a “high green folding screen, which might entirely isolate Bartleby from my sight” (17) when he first joins the office staff. He establishes a dichotomous relationship with Bartleby to emphasize his superiority by physically putting up the wall. Bartleby is isolated by society when he is locked up in the alms-house and is “standing all alone in the quietest of the yards, his face towards a high wall” (218). Melville further demonstrates the seclusion of Bartleby by having the narrator place him at a desk in front of the window with “an unobstructed view of a lofty brick wall, black by age and everlasting shade” (5). Bartleby is denied all escape from his work with the view of the wall: “I placed his desk close up to a small side-window in that part of the room, a window which…commanded at present no view at all” (17). The narrator refers to the wall as a “dead-wall” (92, 126, 166) several times throughout the story. The trance, which Bartleby appears to be in, while gazing at the wall, creates an alternate

The atmosphere of this exposition is clearly foreboding: "the dark clouds, broken chimneys, unused street, solitary cat, and dead air" all prove ominous and reflect the sordid ruling mood. Failed culture and solitary of aimless women ("a cat moved itself in and out of railing") not knowing exactly what to do about their predicaments in which

The use of conversation and the thoughts of the narrator reflect the poet's own thoughts. In line thirty to line thirty-five, the narrator questions the purpose of a wall. He has an open disposition and does not understand the need to “wall in” or “wall out” (line 33) anything or anyone.

However, when the responders’ delves deeper into the poem, it is clear that at a allegorical level the wall is a metaphor representing the barrier that exists in the neighbours’ friendship. The first eleven lines of the poem if rife with imagery that describes the dilapidation of the wall. The first line of the poem emphasises that “something” exists that “doesn’t love a wall”. This personification makes the “something” seem human-like. The use of words such as “spills” and “makes gaps” convey an image of animate actions and create a vivid impression of the degradation of the wall. Nature, presented in the form of cold weather, frost and the activities of creatures, also seeks to destroy the wall. The idea that walls are unnatural and therefore nature abhors walls is portrayed in the phrase “makes gaps even two can pass abreast”, which metaphorically indicates that nature desires for man to walk side by side with no barrier between them. When the two meet to fix the wall, it is a metaphor that could be interpreted as the two repairing their friendship as “To each the boulders have fallen to each” which shows that faults in their relationship lie on behalf of them both. While they are mending the wall, a light-hearted tone is established. This is shown through the inclusion of the metaphor “spring is mischief in me” which shows the neighbours having fun together in repairing the wall,

World famous poet, Edgar Allan Poe, once wrote in one of his poems, “From childhood’s hour I have not been. As others were, I have not seen. As others saw, I could not awaken. My heart to joy at the same tone. And all I loved, I loved alone.” In those lines, Poe demonstrates his love for being alone because his childhood was full of isolation, meaning that the writer grew used to the feeling. Since boyhood throughout his adult life, Edgar Allan Poe endured through a series of unfortunate events. From his parents dying, his animosity with his foster father, his consecutive poverty, to facing rejection from the public, the man’s life was as ominous as his fiction. This essay will discuss the reason behind the writing of one of Edgar Allan

Widely recognized for philosophical writings as a French essayist and playwright, Albert Camus is a major contributor to exploring the absurd in modern Western literature. Characterized by highlighting the human condition, Camus’ writing style focuses on the everyday lives and inner psyche of individuals in both ordinary and extraordinary circumstances. Such a character-driven writing style is most notably displayed in his 1946 work, The Stranger, a tale of an emotionally-detached man known as Meursault, who lives in French-colonized Algiers during the intermission of the two World Wars. Consisting of two parts—The Stranger first explores his daily life as a free man, and in the second, delves more into the character’s own philosophy as Meursault contemplates during his remaining time in jail. At its core, the story explores the relationships and interactions of the odd Meursault through the character’s inner monologue and dialogue with those around him. The story itself is very ambiguous in its’ nature, and the idea of contemplating the meaning of life and purpose is prevalent throughout The Stranger. Evidently, Camus writes Meursault as a man who believes that life has no meaning, and therefore people are free to do as they please. To supplement the protagonist’s view, the author also presents Meursault alongside various personalities of key supporting characters, each with their own unique personality, and differing outlooks on life. Doing so thus enables Camus to get readers to contemplate about meaning through multiple perspectives. Stylistically, through many devices that emphasize diction, imagery, and story themes. Ultimately, The Stranger is a way for Camus to convey that there are multiple ways to perceive the meaning of life, using Meursault to directly project a different view than what readers are used to. Surely, with the intent of crafting a protagonist so strange, that Meursault becomes comparable to other characters; less so as a reflection of what the author personally believes the meaning of life is, but more of what such exploration of the idea could be.

In the poems “The Wanderer” and “The Dream of the Rood,” anonymous authors give way to the idea that an Almighty God will solve every problem a person has by doing two things: 1) drawing upon the memories of a warrior who has lost everything near and dear to him due to war, and 2) entering the dream of a man who has been exiled and isolated. Each piece takes its reader through the trials and tribulations that one may not relate to in this era, yet the reader is still there alongside the character wanting them to find peace with their world and themselves. Initially, it is believed that the characters will overcome their hardships and achieve the happiness they seek. However, as the reader delves deeper into the character’s story, there is an overwhelming sense of incompleteness. What actually happens at the end of each piece is not written in stone - telling us the story is not whole - nor has a conclusion been reached. The intrapersonal thoughts being shared with the reader reveal the obstacles that keep an overall wholeness from occurring.

Similar to “Acquainted with the Night,” isolation is a major theme in “Mending Wall.” In “Mending Wall,” there are two characters: the speaker and the neighbor. The two characters have two different opinions on what make a “good neighbor.” The neighbor views walls as a crucial object in

The seclusion endured by the narrator causes a dramatic change in her mental state. Her surroundings are now coming alive within the walls around her. “I didn’t realize for a long time what the thing was that showed behind, that dim sub-pattern, but now I am quite sure it is a woman” (736). Initially, the figure witnessed around the walls was merely just the shadow projected from the narrator creeping around the paper. Now this shadow is taking on not just any life form but ironically the form of a woman. Just like the narrator is trapped within the barred windows of the mansion, the woman is trapped within the patterns of the paper. This parallel view is transforming the narrator’s identity within the walls of the paper. However, this obsession begins to heighten. She begins to see the woman through every window in the bedroom. She appears to be creeping not only around the walls but now outside in the garden and along the